Creative Skillset Employment Census of the Creative Media Industries

Transcription

1 0 Creative Skillset Employment Census of the Creative Media Industries

2 Foreword Professor Mike Campbell OBE Chair, Creative Skillset Research and Evaluation Committee I am pleased to have the opportunity to introduce you to the eighth Creative Skillset Employment Census of the creative media industries, which I hope you will find an interesting, useful and valuable resource. Taken together with previous censuses, it provides insight into the changing composition of the industries employment patterns and geography over time. It includes up-to-date and detailed estimates of the size and shape of the creative media industries workforce as a whole, as well as covering separately: television, film, interactive media, radio, facilities, animation, corporate production, computer games and VFX. It also considers the representation of women, Black, Asian and Minority Ethnic groups (BAME) and people with disabilities, enabling consideration of the changing representation of diverse groups across the industries. It should be useful not only as a resource and depository of information, but also to businesses, those currently working in the industries, as well as those aspiring to become part of it. It provides a basis too, for companies to benchmark their own workforce against that of the industries as a whole. It can help target skills investments and identify the character of specific needs. It will be helpful to human resources staff, those involved in recruitment and bodies representing the interests of women, BAME groups and those with a disability, both within and beyond the industries. The Census forms part of a wider, innovative programme of intelligence, research and evaluation on, and for, the industries being undertaken by Creative Skillset. Further details are available on the website Creative Skillset would like to thank the hundreds of employers who contributed to the Census; the UK Commission for Employment and Skills for co-investing in this important work through the Employer Investment Fund, and the following contributors: Acknowledgements Dr. David Brooks Ashbrook Research & Consultancy, Director Professor Mike Campbell OBE Independent Consultant Milo Connolly Qualasys Research Business and Intelligence, Director Neil Heyer Qualasys Research Business and Intelligence, Director Neil Flintham Independent Consultant Table of Contents Executive summary Introduction 6 The size and shape of the creative media industries 9 Television Film 8 Interactive media Radio 9 Facilities Animation 0 Corporate production Computer games 60 VFX 6 Appendix: Census form 68

3 Executive Summary Executive summary Distribution, methodology and response Key trends Representation of women Black, Asian and Minority Ethnic Representation A Census form was distributed to every company for which records were available in the creative media sectors covered, for completion on the Census date of July 0. The sectors covered include: animation commercials computer games corporate production facilities interactive media libraries and archives radio television VFX film apart from the freelance crew employed by film production companies. The Census excludes freelancers who were not working on Census Day. The 0 Census achieved 8 responses including major employers and small companies. The proportion of responses completed online increased from 7% in 009 to 7% of the overall response in 0. Caution should be exercised reading figures cut by three variables e.g. sector/gender/occupational group. Figures at this level are indicative only. How the Census fits within Creative Skillset s Research and Evaluation Strategy The vision underpinning Creative Skillset s Research and Evaluation Strategy is to support the growth and wealth creation of the Creative Industries, by providing outstanding labour market intelligence that enables UK employers to understand the size and shape of the sectors, skills needs within them, as well as plan for, invest in, and measure the impact of skills and talent interventions. Total employment in the creative media industries has grown by more than,000, representing a % increase in employment across the industries. The increase of employment compares to a % increase across the rest of the UK economy and is mostly driven by the growth in terrestrial broadcast, interactive media, facilities, animation, games publishing and games development support. The sub-sectors which lost jobs include radio, studios and equipment hire, film production, commercial production and pop promos and computer games development. Representation of women has increased from,70 in 009 to 69,90 in 0. Women represented 6% of the total workforce in 0 compared to 7% in 009. This reverses the previous decline over the periods. Representation of Black, Asian and Minority Ethnic (BAME) people declined from 7.% of the total workforce in 006 to 6.7% in 009 and is now just.% in 0. Levels of employment have increased in, and Northern Ireland, the South East and the South West of England. The Employment Census of Creative Media Industries sits within a larger programme of research activities, such as employer and workforce panels, forecasting tools and supply side mapping (see Primary research such as the Census provides invaluable information to employers and other stakeholders across the Creative Media Industries. The results and analysis presented also benefits from drawing on a range of other sources and insights. The Census does not include publishing, photo imaging, advertising and freelancers working in film production. The overall representation of women has increased since 009. Television, interactive media, animation, commercials and pop promos, corporate production and computer games have seen the biggest increase. Other sub-sectors where representation has increased are film distribution, studios and equipment hire, post production and independent radio production. As in previous years, representation of women is highest in certain occupations: in particular make-up and hairdressing (8%) and costume and wardrobe (7%). Women also make up over half (6%) of the legal workforce, distribution, sales and marketing (%), business management (%) and broadcast management (%) but less than half in every other occupational group. There is considerable variation across the country, largely reflecting the concentration of sub-sectors and occupations in each area. For example,, the North West and, which all accommodate substantial segments of the television and radio broadcasting sectors, contain the highest proportions of women. Representation is lowest in South East and which contain concentrations of interactive and facilities companies as well as the with its concentration of computer games companies. Representation of disabled people Overall, the proportion of the workforce described by their employers as disabled has remained the same since 006, at.0%. This is significantly lower than the proportion reporting themselves as disabled in Creative Skillset s 00 Creative Media Workforce Survey, in which.6% of the workforce reported they have a disability. Representation of people from a BAME background differs considerably between sectors, being highest in commercials production, independent radio, cable and satellite and terrestrial broadcast and lowest in special physical effects, VFX, corporate production and studios and equipment hire. There are some major variations in BAME representation by occupational group. The highest proportion being employed in legal, content development, technical development and libraries and archives and lowest in servicing, manufacture, transport, audio/sound/music, lighting, animators and engineering and transmission. There is considerable variation in representation across the UK. and the have the highest representation of BAME workers, and North East England and the lowest. Current employment and freelancing Total employment in the industries as covered in the Census, is estimated at 9,00 - an increase from 88,0 in 009. % of the workforce is freelance, which is the same as 009. Freelancing is most prevalent in those areas most closely involved in the production process.

4 6 Introduction 7 Introduction Background Scope Method Response This report presents the findings of the eighth Creative Skillset Employment Census of the creative media industries. Since 000, improvements have been made in the design, distribution and methodology, with new sectors targeted, separate forms developed for some sectors to ease completion and employers able to complete the form online. As a result, 8 major employers and small companies participated in the 0 Census. The aim of the Census is to provide reliable estimates on the size and shape of employment in the creative media industries. By doing so, Creative Skillset can identify changes in the workforce, monitor representation of diverse groups and target investment in skills development on behalf of the industries in order to ensure their needs are met. To achieve this, companies were asked to indicate their number of employees and freelancers in specific occupational groups and job roles on Wednesday July 0. For each employee and freelancer they were asked to indicate how many were women, from a Black, Asian or Minority Ethnic (BAME) background and disabled. A copy of the main Census form is appended to this report. In 009, Creative Skillset redeveloped a full occupational map of the industries it represents, in order to accurately classify industry sectors and occupations. While some changes have been made to both the sector and occupational classification systems used, there remains a high level of correspondence and similarity between previous and current systems enabling trend analysis in most cases. The creative media industries in this report refers to film, television, radio, animation, facilities, interactive media, computer games, VFX, commercials production and corporate production. It does not include: Film production freelancers. While the Census covers permanent roles employed within film production companies (classified as film production), freelance crew are covered within a separate cycle of research conducted jointly with the BFI. The snapshot methodology of recording employment on one day does not provide a reliable estimate of the total workforce involved in filmmaking as production levels fluctuate over time. The Census methodology is less problematic for other film sectors such as film distribution and cinema exhibition which are less freelance dominated and more stable in employment terms. Performers, who work across most of the sectors, nearly all work on a peripatetic basis which, in common with film production crews, does not lend itself to inclusion within the Census. They are therefore included within other elements of Creative Skillset s research programme. Photo imaging and publishing is relatively well-served by the Office for National Statistics Labour Force Survey. The data is reliable and accurate with the exception that some freelancers will be excluded. The extent of this exclusion has been measured within Creative Skillset s Workforce Survey. Census forms were distributed to companies throughout the UK for completion on July or shortly after. A central database of around 0,000 companies was set up using a number of available sources including trade association membership lists, screen agency records and other databases. In addition, the Census was publicised in trade journals and national press in order to reach companies outside the membership of industry organisations. Each company was given three weeks to complete and return the questionnaire. Companies that had not responded by Friday 7 July were contacted by letter, and/or telephone (depending on sector and availability of contact information). During the telephone follow-up stage the aim was to urge companies to complete the full form online and, for companies of up to ten people, to complete the form while on the phone. To increase response rates and account for the August holiday season the Census deadline was extended to 0 September 0. Precise response rates are difficult to calculate due to the lack of reliable and up-to-date information on the number of companies in some sectors. Table (see p.8) shows the number of responses per sector. The proportion of responses completed online has increased from 7% in 009 to 7% in 0. The final employment estimates for the industries were calculated by applying a weighting methodology based on using data on the population of employers in each sector to gross up the responses per sector. Sector parity and other parameters were taken into consideration, to allow for as reliable estimates as possible. Secondary/desk research was also conducted to triangulate and health check the validity of the weighting factors applied. Where responses were too low to support reliable estimates, the relevant sub-sectors have been removed. This included eight responses from TV community, distribution, interactive and broadcast technology; three responses from facilities outside broadcast, systems integration, processing labs and transmission and four responses from cinema exhibition that did not match the sub-sector. This gave a total of deleted responses that are not shown in Table. No responses were received for interactive media mobile content.

5 8 Introduction 9 The size and shape of the creative media industries Response (continued) Response per sub/sector Table TELEVISION RADIO FACILITIES FILM INTERACTIVE MEDIA COMPUTER GAMES Paper Online TOTAL Terrestrial 0 Cable and Satellite 9 Independent Production 9 Broadcast 7 8 Independent Production 8 7 Community/Voluntary 6 Post Production 7 Studios and Equipment Hire 6 Special Physical Effects 7 Manufacture of AV equipment 0 Other services for Film and TV 8 6 Production 7 Distribution 8 Cinema Exhibition 0 ANIMATION 6 VFX 8 0 COMMERCIALS PRODUCTION and POP PROMOS 6 9 CORPORATE PRODUCTION Online Content 6 Systems Design/Software 8 Social Media/Web Other Interactive Media 9 Games Development Games Publishing Games Support 0 ARCHIVES and LIBRARIES 9 OTHER 9 6 TOTAL Analysis and presentation of the Census results This report has been designed to provide sector-led insights. It provides an overview of the creative media industries as a whole and then continues with information on the size and shape of each industry in turn. The size of the workforce Table shows overall employment by sector in 009 and 0, and the percentage change over the three year period. The total employment between the two surveys has increased by % from 88,0 to 9,00. Employment in the industries Table TELEVISION RADIO FACILITIES FILM INTERACTIVE MEDIA COMPUTER GAMES Change % Terrestrial Broadcast,70 6,60 +6% Cable and Satellite,700,00 -% Independent Production,700,60 0% Broadcast 9,900,00 -% Independent Production, % Community/Voluntary n/a,00 Post Production 7,0 8,900 +9% Studios and Equipment Hire,900,00-0% Outside Broadcast 600 n/a Special Physical Effects % Manufacture of AV equipment,900,000 +% Processing labs 00 n/a However, there has been considerable variation in the pattern of jobs growth and decline over the period. The sub-sectors experiencing decline include radio, VFX, online content, film production and computer games development. Post production, special physical effects, games publishing and games development support have increased since 009. Other services for Film and TV 8,600 8,90 +% Production (excluding freelancers),00,0 -% Distribution,00,00 0% Cinema Exhibition 7,60 7,700 0% ANIMATION,00,600 +7% VFX 6,900,00 -% COMMERCIALS PRODUCTION and POP PROMOS,00,800-7% CORPORATE PRODUCTION,90,00 +% Online Content 7,0,00 -% Systems Design/Software n/a 6,80 Social Media/Web.0 n/a 8,70 Mobile Content 800 n/a Offline Media,70 n/a Other Interactive Media,00,0 +% Games Development,00,700 -% Games Publishing,0,0 +% Games Support % ARCHIVES and LIBRARIES 0 0 0% OTHER n/a 70 TOTAL 88,0 9,00 +% UK economy (excluding Media) *,6,0,0, % *Source: Office for National Statistics Labour Force Survey, Oct-Dec 009 and Oct-Dec 0 NB: Figures are rounded up or down to the nearest 0

6 0 The size and shape of the creative media industries The size and shape of the creative media industries Occupations: Employees and freelancers Response per sub/sector Table Employees Freelance Total workforce Strategic Management,90,600 7,0 Creative Development,900,00,0 Production,800 0,00,900 Legal,00 0,60 Broadcast Management,0 700,80 Engineering and Transmission,00 00,700 Editorial, Journalism and Sport 9,0,800,900 Content Development,0 00,00 Art and Design,0,00 9,70 Animators,70,00 6,00 Costume/Wardrobe Make-up and Hairdressing ,00 Camera/Photography,800,0,0 Lighting 600,00,800 Audio/Sound/Music,000,00,00 Transport Studio Operations Technical Development 6,0 60 7,00 Editing,0,80 7,00 Laboratories/Processing Manufacture,900 00,000 Servicing,00 0,0 Libraries and Archives,0 00,00 Distribution, Sales and Marketing,90 00,0 Business Management 6,600,000 8,600 Retail and Exhibition 7,70 0 7,70 TOTAL,0 6,60 9,00 NB: Figures are rounded up or down to the nearest 0. Lighting Make-Up and Hair Dressing Camera/Photography Costume/Wardrobe Creative Development Editing Audio/Sound/Music Transport Production Art and Design Editorial, Journalism and Sport Animators Strategic Management Broadcast Management Studio Operations Legal Content Development Technical Development Library and Archives Business Management Engineering and Transmission Manufacture Distribution, Sales and Marketing Servicing Laboratories/Processing Retail and Exhibition GRAND TOTAL Proportion of workforce who are freelance Proportion in each occupational of workforce group who are (%) freelance Fig. in each occupational group (%) (fig.) The proportion of freelancers in each occupational group is reported in Figure. Overall, the proportion of freelancers has remained the same since 009 at %. Freelancing is most prevalent in areas closely involved in the production process such as camera/photography (66%), lighting (8%), make-up and hairdressing (70%), costume/ wardrobe (67%), content development (%) and editing (%). It is lowest in areas related to retail and exhibition, management, marketing, servicing and libraries and archives. 8 Table shows total employment broken down by employees and freelancers within each occupational group. The single largest occupational group is business management, encompassing a wide range of generic business support areas such as finance, HR, press and PR, which employs 8,600 people. The next largest groups are involved in content creation production (,900) and art and design (9,70), both have risen marginally since the 009 Census. Strategic management, which is 7,0 - up from,000 in 009 and retail and exhibition, which saw a slight increase from 7,700 in 009 to 7,70, are the next biggest groups, both employing a combination of generic and industryspecific skills.

7 The size and shape of the creative media industries The size and shape of the creative media industries Occupations (continued) Proportion of the workforce who are freelance in each sector (%) Fig. Work base: The location of the workforce Terrestrial Broadcast Cable and Satellite Independent Production (TV) Broadcast Radio Independent Production Radio Community/Voluntary Radio Post Production Studios & Equipment Hire Special Physical Effects Manufacture of AV Equipment Other Services for Film & TV Film Distribution Cinema Exhibition Animation Overall representation of freelancers (%) Figure shows the variation in freelance usage by sector, and how this has changed since 006. Freelancing is highest in sectors involved in production or content creation. In 009 the number of freelancers was,700 compared to 6,60 in 0. The figures should, however, be treated with caution as, although Census Day is chosen with care following industry consultation, it shows only the proportion of freelancers who are at work on the day. Thus, if the levels of production are relatively low, the freelancer proportion may look low, and possibly disguise the underlying situation. The geographical distribution of the workforce is illustrated in Figure a. continues to be the work base for over four in ten of the workforce, followed by large concentrations of the industries in the South East, the South West and the nations. The workforce in the remaining English regions has mostly decreased since 009. Figure b compares 0 with 009. North West of England 0 7 North Work base of the creative media industries(%) Fig.a Northern Ireland VFX Commercials Production Corporate Production Interactive Media Computer Games Archives & Libraries Northern Ireland South East of England 9 7 South West of England Work base of the creative media industries (%) Fig.b 9 North East of England Yorkshire & the Humber 7 North West of England TOTAL NB: Film production is excluded as only employees in the sector were counted.

8 The size and shape of the creative media industries The size and shape of the creative media industries Women in the creative media industries Representation of women in the industry in each occupational group (%) Fig. Overall representation of women (6%) Terrestrial Broadcast Cable and Satellite Independent Production (TV) Broadcast Radio Independent Production Radio Community/Voluntary Radio Post Production Studios & Equipment Hire Special Physical Effects Manufacture of AV Equipment Other Services for Film & TV Film Production Film Distribution Cinema Exhibition Animation VFX Commercials Production Corporate Production Interactive Media Computer Games Representation of women in each sector (%) Fig. Overall representation of women (6%) The representation of women in each sub-sector and how this has changed since 006 is shown in Figure. The number of women has increased from,70 in 009 to 69,90 in 0, representing 6% of the total workforce in 0 compared to 7% in 009. This is a return towards the 006 level after an acute decline between 006 and 009 (the first since the Census was first introduced in 000). This increase since 009 occurred across most sub-sectors. The proportion of women employed is especially high in cinema exhibition, film production and distribution, independent and broadcast radio production, independent TV production and terrestrial broadcasting. Strategic Management Creative Development Production Legal Broadcast Management Engineering and Transmission Editorial, Journalism and Sport Content Development Art and Design Animators Costume/Wardrobe Make-Up and Hairdressing Camera/Photography Lighting Audio/Sound/Music Transport Studio Operations Technical Development Editing Laboratories/Processing Manufacture Servicing Libraries and Archives Distribution, Sales and Marketing Figure shows the proportion of women in each occupational group*. A comparison with 009 results shows an overall increase in the representation of women as well as an increase in the proportion of women in certain occupational groups. Representation is highest in make-up and hairdressing (8%) and costume and wardrobe (7%). Women also make up over half of the legal workforce (6%), business management (%), distribution, sales and marketing (%) and broadcast management (%). *Excludes cinema exhibition Archives & Libraries 6 8 Business Management TOTAL GRAND TOTAL

9 6 The size and shape of the creative media industries The size and shape of the creative media industries 7 Women in the creative media industries (continued) North West of England North Combined West South North East Central Northern Ireland Representation of women in the industry nationally and regionally (%) Fig The representation of women in the workforce across the nations and regions of the UK is shown in Figure 6. There is considerable variation, largely reflecting the concentration of sectors in each area and their levels of employment of women. For example, and the North West which accommodate substantial segments of the television and radio broadcasting sectors, contain the highest proportions of women. Representation of women is lowest in the South East and which contain high concentrations of interactive media and facilities companies as well as the with its concentration of computer games companies. 0 0 Black, Asian and Minority Ethnic groups (BAME) in the creative media industries. BAME representation has seen a decline from,0 in 009 to 0,00 in 0. BAME people represented 7.% of the total workforce in 006, compared to 6.7% in 009 and.% in 0 (Figure 7). The representation of BAME varies by sector, being over 8% in 0 in broadcast radio, independent radio production, terrestrial broadcast, cable and satellite and commercials production. Terrestrial Broadcast Cable and Satellite Independent Production (TV) Broadcast Radio Independent Production Radio Community/Voluntary Radio Post Production Studios & Equipment Hire Special Physical Effects Manufacture of AV Equipment Other Services for Film & TV Film Production Film Distribution Animation VFX Commercials Production Corporate Production Interactive Media Computer Games Archives & Libraries TOTAL BAME representation in each sector (%) Fig Overall representation of BAME (.%) Cinema Exhibition

10 8 The size and shape of the creative media industries The size and shape of the creative media industries 9 BAME in the creative media industries (continued) BAME representation in the industries in each occupational group (%) Fig.8 Overall representation of BAME (.%) BAME representation by nation and region (%) Fig.9 BAME representation varies by occupational group*, as shown in Figure 8. The highest proportion (over 8%) of BAME people are employed in legal, libraries and archives and editorial, journalism and sport. Strategic Management Creative Development Production Legal Broadcast Management Engineering and Transmission Editorial, Journalism and Sport Content Development Art and Design Animators Costume/Wardrobe Make-Up and Hairdressing Camera/Photography Lighting Audio/Sound/Music Transport Figure 9 shows the proportion of BAME people in each nation and region of the UK.* There is considerable variation, to some extent reflecting the composition of the local labour market in each area as well as the subsectors and occupations represented. At 8.9%, has the highest representation, however, given the high representation in the wider economy (8.8%), it is in fact the least representative region. is the only nation or region in which representation of BAME people is higher in the creative media industries than the wider economy. North North West of England Northern Ireland TOTAL Studio Operations Technical Development Editing *Source: Office for National Statistics Labour Force Survey, Oct-Dec 0 *Excludes cinema exhibition UK working population* Creative Media Industries Laboratories/Processing Manufacture 0. Servicing. 0.7 Libraries and Archives Distribution, Sales and Marketing 6.9 Business Management Retail and Exhibition.. *Excludes cinema exhibition GRAND TOTAL

11 0 The size and shape of the creative media industries The size and shape of the creative media industries Disability in the creative media industries Representation of disabled people in each sector (%) Fig.0 Diversity in the creative media industries Fig. Overall representation of disabled workforce (%) Women BAME Disabled The Census asked companies to indicate how many disabled people were working in their company on Census Day. Overall, % of the workforce is reported to be disabled, as shown in Figure 0 the same proportion as in 006 and 009. The proportion is highest in the community/ voluntary radio and cable and satellite sub-sectors. Terrestrial Broadcast Cable and Satellite Independent Production (TV) Broadcast Radio Independent Production Radio Community/Voluntary Radio Post Production Studios & Equipment Hire Other Services for Film &TV % 8% 8% 6% 7% 7.% 7% 7.% 6.7%.% %.% % % % Film Production Cinema Exhibition Animation This is lower than those who report themselves to be disabled as defined by the Disability Discrimination Act in self-reporting surveys. For example, in Creative Skillset s 00 Creative Media Workforce Survey,.6% of respondents identified themselves as disabled. VFX Commercials Production Corporate Production Interactive Media Computer Games Archives & Libraries TOTAL Figure summarises the reported diversity of the workforce within the creative media industries since 00. We now turn from this overview of the workforce of the creative media industries to a more detailed account of each of the industries. In each case we cover, as far as the data will allow, the size of the workforce and recent trends in it; the extent and trends in freelancers; the location of the workforce and changes within it; the representation of women by occupation and geography; the representation of BAME groups by role and geography and similarly for people with a disability. Please note that where diversity measures and/or regions or nations are not included, it is due to no record or very low frequencies

12 Television Television Workforce size Occupational groups Figure shows the size of the workforce in television since 00. The total workforce has increased by % since 00, although it suffered a major decline from 006 to 009 during the recession. Since then, the combined TV workforce, which includes terrestrial, independent production and cable and satellite, has shown an overall % increase. This is mostly down to terrestrial broadcast. TV total workforce Fig.,00 0,0 0,600,700 Figure sets out the pattern of employment across the different occupational groups in television. The majority of the workforce works in production (6%), business management (%), editorial, journalism and sport (%), strategic management (7%), art and design (%), editing (%), camera/photography (%), broadcast management (%) and distribution sales and marketing (%). Business Management Distribution, Sales and Marketing Editing Audio/ Sound/ Music Lighting Camera/Photography Art and Design Editorial, Journalism and Sport 7 Major occupational groups in TV(%) Fig. Strategic Management Creative Development 6 Legal Production Broadcast Management Engineering and Transmission 0 North East 6 of England Northern Ireland Work base of the TV industry (%) Fig. North West of England 7 The majority of the TV workforce is based in (7%), followed by (%), North West of England (0%) and (6%) (Figure ). Within, 66% is concentrated in West, 0% in Central, % in East and % in South. Freelance workforce Almost four in ten of those working in TV are freelancers, increasing from 8% in 009. This compares to % in the creative media industries as a whole. TV Freelancers,800 9,000,900 0,000 % of Total Workforce % % 8% 9% Freelance workforce Table Occupational groups like legal, broadcast management, engineering and transmission, editorial journalism and sport, studio operations, technical development, libraries, distribution sales and marketing as well as business management do not rely greatly on freelancers. In contrast, costume/wardrobe (7%), lighting (7%), make-up and hairdressing (7%), camera/photography (7%), audio/sound/music (66%), creative development (66%), transport (6%), editing (6%) and production (6%) are freelance-orientated occupational groups in TV.

13 Television Television Freelance workforce (continued) Proportion of TV freelancers per nation/region (%) Fig. Women in TV,700,00 0,0,60 % of total workforce % % % % North West of England North Northern Ireland Figure shows that and the South East employ more freelancers than the overall average of 9% in TV. In contrast, regions like the East Midlands, the North East and and Northern Ireland, employ fewer freelancers as part of their total workforce. 6 Women workforce Table Women in TV make up % of the total workforce compared to 6% within the creative media industries. This has remained the same since 00 apart from a dip in 009. Women in TV are represented at about the % average in all occupational groups except for studio operations (6%), transport (%), audio/sound/music (0%), editing (9%), technical development (6%), lighting (6%), camera/photography (%), engineering and transmission (%), animators (%), and servicing (%). Women represent 66% of legal roles, 8% of strategic management roles and creative development (each), 6% of broadcast management and 6% of production. Geographical representation of women in TV (%) Fig.7 Diversity Figure 6 shows the percentage of women, BAME and disabled workforce in television. Women BAME Disabled Diversity in TV Fig.6 % % % % 6.8% 9.9% 9% 7.%.6% %.% % North West of England North Northern Ireland As shown in Figure 7 women are represented above the creative media industries average throughout all nations and regions except for the where the proportion of women is less than the overall TV average. The highest representation of women is in the and the North West.

14 6 Television Television 7 Diversity (continued) BAME in TV,00,00,00,800 % of total workforce 6.8% 9.9% 9% 7.% Disability ,000 % of total workforce.6% %.% % BAME workforce Table 6 Disability workforce Table 7 Workforce from a Black, Asian or Ethnic Minority background represent 7.% of the total workforce in television in 0 compared to.% across the creative media industries. BAME workers are represented at a 7.% average in all occupational groups except for strategic management (%), make-up and hairdressing (%), audio/sound/music (%), editing (%), creative development (%), camera/photography (%), servicing (%), lighting (%). BAME people represent % of business development, % of legal, % of libraries, % of distribution, sales and marketing, 0% of engineering and transmission and 0% of editorial, journalism and sport. Two percent of the workforce in television was identified as disabled. This is the highest since 00 and compares to % for the creative media industries as a whole. Representation of the disabled workforce in TV is around the % average in almost all occupational groups except for make-up and hairdressing (%), libraries and archives (6%) and engineering and transmission (%). Geographically, the disabled workforce ranges from % to % throughout all nations and regions. BAME geographical representation in TV (%) Fig.8 North West of England North Northern Ireland BAME representation is fairly evenly spread throughout all regions except for, Northern Ireland and on the low end. A much higher than average representation of BAME people exists in the and (Figure 8).

15 8 Film 9 Film Workforce size While the Census covers permanent roles employed within film production companies, freelance crew are covered within a separate cycle of research. The nature of film production means that the snapshot methodology of recording employment on one day does not provide a truly The breakdown per sub-sector is shown in the table below. reliable estimate of the total workforce involved in filmmaking as production levels fluctuate over time. The Census methodology is less problematic for other film sectors such as film distribution and cinema exhibition which are less freelance dominated and more stable in employment terms. The majority of the workforce in film production and distribution is based in and (Figures 9 and Figure 0). For specifically, 80% of the workforce in film production is based in Central, as is 68% of film distribution. Work base of film distribution (%) Fig.0 8 Film production,00,0 Cinema exhibition 6,00 6,600 7,700 7,700 Film distribution 00,00,00,00 TOTAL 7,000 7,900 0,00 0,000 Breakdown of the workforce Table 8 NB: Totals may vary due to rounding to the nearest 0. The geographical representation of the workforce in cinema exhibition is in line with the creative media industries overall with 8% in England, % in, 0% in and % in Northern Ireland (Figure ). Northern Ireland 0 0 Work base of cinema exhibition (%) Fig. 6 Rest of England North West of England Yorkshire & the Humber North East of England Work base of film production (%) Fig Film production does not include film production freelancers which accounted for 89% of employment in the sector in 00.

16 0 Film Film Occupational groups Freelance workforce Business Management Art and Design Legal 6 Production Business Management Distribution, Sales and Marketing The major occupational roles in cinema exhibition is box office (87%), head office/ management (8%), premises operation (%), projection/ technical (%) (Figure ). 7 Major occupational groups in film production (%) Fig. Major occupational groups in film distribution (%) Fig. 8 Creative Development 7 Strategic Management Strategic Management Creative Development Head office/management Production Technical Development Servicing 8 Major occupational groups in cinema exhbition (%) Fig. Figures and demonstrate the different occupational groups in film production and distribution. Strategic management, distribution, sales and marketing, business management, creative development and production are the major occupational roles in these sub-sectors. Please note that freelancers are not included in film production. Premises Operation Projection/Technical Women BAME Disabled Freelancers represent 0% of film distribution. They are employed in legal, servicing, business management and distribution, sales and marketing. As previously explained, the Census does not include freelancers in film production given that the snapshot methodology of recording employment Diversity Diversity in film production Fig. 0% 7% %.%.9%.% on one day does not provide a reliable estimate of the total workforce involved in filmmaking as production levels fluctuate over time. No freelancers were recorded in cinema exhibition. Women BAME Disabled Figures to 7 show the proportion of women, BAME and disabled workforce in film production, distribution and 0% cinema exhibition respectively. %.9% 009 Kiosk/Box Office 87

17 Film Film Diversity (continued) Women BAME Diversity in film distribution Fig.6 0% 9% % Women BAME Disabled Diversity in cinema exhibition Fig.7 % % 9% 7.7% % % 8.% %.%.% 0.% 0.6% 0.% 0.% %.% 6% Women BAME Disabled Women BAME Disabled Women in film production represented 6% of business management workforce, 7% of production, 6% of creative development, % of strategic management and 7% of art and design. Women in distribution are represented 0% in business management (69%), 7% distribution sales and management (6%), legal (%) and strategic management (0%). Women in cinema exhibition are under the industry average in projection/technical (%), IT (7%), CEO (%), and head office/management and premises operation (% each) roles. Their representation in box office (8%), finance and accounts (6%), health and safety (0%) and corporate % PR and marketing (%) is around.% the sub-sector average of 6%. They have a higher representation in cleaning (6%),.9%.% HR (7%) and administration (80%). BAME workers in film production represent % of the 0% business management workforce 7% and 0% of the legal workforce. Strategic management, creative development and production are all %. BAME people in film distribution represent 8% of business management and % of distribution, sales and marketing. In cinema exhibition % Overall, women in film make up 6% of the total workforce compared to 6% of the creative media industries. The nations/regions with the highest representation of women in film production are (9%) and (%). In terms of film distribution, the areas with the highest representation are (6%) and (%). Employees and freelancers from a Black, Asian or Ethnic Minority background represent.% of the total workforce in 0 compared to.% of the creative media industries..9%.% % they represent 7% of IT, 7% of cleaning, 6% of finance and accounts, % of box office and admin (each), % of premises operation, corporate PR and marketing and CEO (each) and % of projection/technical and head office management (each). Geographically, BAME workers in film production are represented at 6% in, while for film distribution representation in is %. Less than one per cent (0.%) of the workforce in film was identified as disabled, compared to % of the creative media industries as a whole. In film production, this was higher (%). Only 0.% of the workforce in cinema exhibition is disabled. There were no reported disabled people in film distribution. The disabled workforce in film production is within strategic management and production (% each). For cinema exhibition, % work within cleaning and % within corporate PR and marketing.

18 Interactive Media Interactive media Workforce size Occupational groups Figure 8 shows the size of the workforce in interactive media since 00. The total workforce has increased by % since 009 although there has been a slight decrease of % since 00. The increase seems to reflect the decrease in radio and the fact that since 009 the radio sector may be turning digital. Interactive media total workforce Fig.8,700,00 8,700,0 Figure 0 demonstrates the different occupational groups within interactive media. Business management and art and design comprise % each of the workforce, followed by technical development (%), strategic management (7%) and production (9%). Technical Development Business Management Audio/ Sound/ Music Camera/Photography Animators Major occupational roles in interactive media (%) Fig.0 7 Strategic Management 9 Art and Design Creative Development Production Content Development North West of England 0 9 North 8 6 Work base of the interactive media industry (%) Fig.9 Northern Ireland 6 South East of England The majority of the workforce is based in (%), followed by the South West (8%), South East (6%), (0%) and (9%) (Figure 9). For specifically, 7% is based in Central, % in East, 9% in West and % in North. Freelance workforce The proportion of freelancers is at its lowest since 00. It is % of the total workforce compared to % of the creative media industries overall. Interactive media freelancers 7,00 6,700 7,0,0 % of total workforce 7% 7% % % Freelance workforce Table 9 Production (%), content development (%), and business management (%) are not shown to rely greatly on freelancers. In contrast, creative development (9%), animators (%) and camera/photography (7%) are freelance-orientated occupational groups. Strategic management, art and design and technical development are around the overall sector average.

19 6 Interactive Media Interactive Media 7 Freelancer geographical distribution (%) (fig.) Freelance workforce (continued) North West of England North Combined West East Central Northern Ireland Diversity Figure shows the proportion of women, BAME and disabled workforce in interactive media. Women BAME Disabled Freelancer geographical distribution (%) Fig. % 8% % 6.% Diversity in interactive media Fig. 8 The North West and employ more freelancers than the overall average of %. In contrast, regions like the North East and Central employ fewer freelancers as part of the total workforce per region/nation (Figure )..% % 0.% 0.% 6% % 9%.% Women in interactive media,700,00,900,600 % of total workforce % %.% 9% Woman workforce Table 0 Women in interactive media represent 9% of the total workforce compared to 6% of the creative media industries. North West of England North Northern Ireland They are greatly under-represented in camera/photography (6%) and technical development (9%). For strategic management (%), content development (%), art and design (%) and animators (7%) female representation is around the sector average. Women are above the sector average in the occupational groups of creative development (6%), production (6%), editorial, journalism and sport (0%) and business management (%). Geographical representation of women in interactive media (%) Fig Workforce from a Black, Asian or Ethnic Minority background represented.% of the total workforce in 0 compared to.% of the creative media industries. 7 Women are represented at around the sector average across most nations and regions, except in the South West and where the proportion of women is lower, and North West and where it is higher (Figure ). BAME in interactive media,00,00,00,00 % of total workforce 8% 6.% %.% BAME workforce Table

20 8 Interactive Media 9 Radio Diversity (continued) Workforce size BAME workers are represented between % and 9% in strategic management, production, content development and business management. BAME representation is lower than the industry average in art and design (%) and above average in animators (0%), camera/photography (%) and technical development (%). BAME representation is similar to the creative media industries average throughout all regions except for and. A higher than average representation is seen in the South East of England as well as (Figure ). North West of England BAME representation in interactive media (%) Fig Figure shows the size of the workforce in radio since 00.The total workforce has decreased by % since 00 although most of this decrease has occurred since 009. In 0, there was an increased response from community/voluntary radio which had not been captured in previous years. Radio total workforce Fig.,00,00 0,900 7,0 Less than one per cent of the interactive media workforce was identified as disabled compared to % of the creative media industries. Disability % of total workforce.% 0.% 0.% 0.% Disabled workforce Table The representation of disabled workforce in interactive media is % each for production, content development, art and design and business management. Of the workforce in % identified themselves as disabled, % in West and % in the North West of England. North North West of England Work base of the radio industry (%) Fig.6 Northern Ireland The majority of the workforce is based in (%), followed by Northern Ireland (%), (8%) and the North West of England (7%) (Figure 6). In, 77% is concentrated in Central, % in East and % in West.

21 0 Radio Radio Occupational groups Proportion of radio freelancers per region/nation (%) Fig.8 Figure 7 demonstrates the different occupational groups in radio. Most fall under editorial, journalism and sport (%), business management (8%), production (6%) and distribution, sales and marketing (%). Business Management Distribution, Sales and Marketing Audio/ Sound/ Music Strategic Management 8 Editorial, Journalism and Sport Major occupational groups in radio (%) Fig.7 Creative Development 6 8 Production Broadcast Management Engineering and Transmission North West of England North Combined West South East Central Northern Ireland Figure 8 shows that West and East employ more freelancers than the overall average of 7% in radio. In contrast, regions like the North East and Central employ fewer freelancers as part of the total workforce. 6 Freelance workforce Radio freelancers,00,700,900,90 % of total workforce % % % 7% Freelance workforce Table The total number of freelancers is at its lowest since 00 at 7% of the total workforce compared to % of the creative media industries. Occupational groups like engineering and transmission, distribution sales and marketing as well as business management do not rely greatly on freelancers. In contrast, legal (7%), editing (6%), libraries and archives (7%) and creative development (0%) are freelance-orientated occupational groups in radio. Diversity Figure 9 shows the proportion of women, BAME and disabled workforce in radio. Women BAME Disabled Diversity in radio Fig.9 9% 9% % % 7.% 6.6% 7.% 7.%.%.8%.9%.%

22 Radio Radio Diversity (continued) Women in radio represent % of the total workforce compared to 6% of the creative media industries. North West of England North Northern Ireland Women in radio 0,800 0,900 9,0 7,60 % of total workforce 9% 9% % % Women workforce Table Women are represented at about the % average in all occupational groups except for creative development (0%), strategic management (%), audio/music/sound (%), engineering and transmission (%) and art and design (%). Women represent 8% of legal roles, 6% of business management and 6% of distribution, sales and marketing. Geographical representation of women in radio (%) Fig Women are represented evenly throughout all nations and regions except for Northern Ireland where the proportion of women is lower than the overall radio average and where there is a higher than average representation of women (Figure 0). BAME in radio,600,00,00,00 % of total workforce 7.% 6.6% 7.% 7.% BAME workforce Table BAME representation is around the average throughout all regions except for, Northern Ireland and the North East. A higher than average representation of BAME people is seen in (%), East Midlands (%) and East of England (%) (Figure ). Two per cent of the workforce was identified as disabled compared to % of the creative media industries. North West of England North Northern Ireland BAME geographical representation in radio (%) Fig. Disability % of total workforce.%.8%.9%.% Disability workforce Table 6 The representation of disabled workforce in radio is around the.% average in almost all occupational groups except for studio operations (8%), broadcast management (%) and an additional % that marked other occupational groups. The representation of the disabled workforce ranges from % to % throughout all nations and regions except for (%) and the North West,, Northern Ireland and, all at % each. 0 People from a BAME background represented 7.% of the total workforce in radio in 0 compared to.% of the creative media industries. BAME workers are represented at the 7.% average in all occupational groups except for distribution, sales and marketing (%), strategic management (%), production (%), legal (%) and engineering and transmission (%). At the higher end, BAME people represent % of studio operations, % of editing and 8% of creative development.

23 Facilities Facilities Workforce size Occupational groups Figure shows the size of the workforce in facilities since 00. The total workforce has more than tripled since 00 with a sudden boost in 006. Since then, there have been fluctuations with some subsectors merged or deleted and others added to more accurately represent the sector. These sub-sectors have largely remained the same since 009. The % growth is due to increases in the workforce in post production and special physical effects. Facilities total workforce Fig. 9,00 6,0 6,90,000 Figure shows the major occupational groups that comprise facilities. These are business management (6%), editing (%), strategic management (9%), art and design (9%), lighting (7%) and production, audio/ sound/music, manufacture and engineering and transmission all at % each. Business Management Servicing Strategic Management Other 6 Manufacture Editing 7 9 Major occupational groups in facilities (%) Fig. Transport 7 Production 9 Engineering and Transmission Art and Design Animators Camera/Photography Lighting Audio/ Sound/ Music Freelancers The majority of the workforce is concentrated in (%), although the South East, South West and accommodate another fairly large proportion of the facilities workforce (Figure ). North West of England 7 6 South West of England South East of England 7 Work base of the facilities industry (%) Fig. 6 Northern Ireland The total number of freelancers is 0% compared to % of the creative media industries. Freelancers in facilities,000,900,00 0,90 % of total workforce % % % 0% Freelance workforce Table 7 Occupational groups like strategic management, engineering and transmission, labs/ processing, manufacture, servicing, libraries and archives, distribution sales and marketing and business management are mostly staffed by permanent employees. In contrast, lighting (9%), editorial, journalism and sport (8%), creative development (78%), editing (%), production (%) and art and design (%) are freelance dominated groups in facilities. For specifically, 9% is based in Central, % in West, 7% in South, 8% in East and % in North.

24 6 Facilities Facilities 7 Freelance workforce (continued) and East Midlands employ the smallest proportion of freelancers of their total workforce, while at the other end of the scale, Northern Ireland tends to employ more freelancers than the sector average (Figure ). In West 6% are freelancers, % in North, % in South, % in East and 7% in Central. North West of England North Northern Ireland Representation of freelancers in facilities by nation/region (%) Fig Women in facilities,600,00 9,800 0,800 % of total workforce % % 7% 9% Women workforce Table 8 Below average representation Average (9%-9%) Women represent 9% of the workforce compared to 6% across the creative media industries. Higher than average representation Technical development (0%) Strategic management (8%) Make-up and hairdressing (00%) Lighting (0%) Art and design (9%) Costume/wardrobe (87%) Editorial, journalism and sport (0%) Animators (%) Content development (7%) Engineering and transmission (%) Labs/processing (7%) Business management (6%) Servicing (%) Manufacture (%) Creative development (%) Diversity Figure 6 shows the proportion of women, BAME and disabled workforce in the facilities industry. Diversity in facilities (%) (fig.6) Diversity in facilities Fig.6 % 7% 9% Audio/sound/music (%) Libraries and archives (%) Studio operations (0%) Camera/photography (%) Other (8%) Production (6%) Editing (8%) Legal (%) Transport (8%) Broadcast management (%) Representation of women in occupational groups Table 9 Table 9 illustrates the representation of women in each occupational group. Distribution, sales and marketing (%) Women BAME Disabled %.% 7.%.% %.% 0.%.% 0.%

25 8 Facilities Facilities 9 Diversity (continued) Geographical representation of women in facilities (%) Fig.7 BAME geographical representation in facilities (%) Fig.8 Figure 7 shows the representation of women geographically within facilities. North West of England North Northern Ireland Figure 8 illustrates the nations/regions where there are records of BAME representation. and Northern Ireland demonstrate higher than the sector average representation. Northern Ireland Disability % of total workforce %.% 0.% 0.% 7 9 Disability workforce Table Employees and freelancers from a BAME background represent.% of the total workforce compared to.% of the creative media industries. This is the lowest it has ever reached since 00. BAME in facilities 00,00,60,0 % of total workforce.%.% 7.%.% BAME workforce Table 0 The only sub-sectors in which BAME workers are represented at % or more are make-up and hairdressing (9%), production (%), business management (8%), labs/ processing (7%), strategic management (%), art and design (%) and editing (%). The proportion of the workforce in facilities that was identified as disabled has dropped to 0.%. This is the lowest ever and less than the % average across the creative media industries. Occupational groups that have disabled workers are animators (%), audio/sound/music (%), editing (%), labs/processing (%), and business management (%). The representation of the disabled workforce is % each in East and the South East of England. For the majority of the remaining regions and nations the proportion matches the very low sector average.

26 0 Animation Animation Workforce size Occupational groups Figure 9 shows the size of the workforce in animation since 00. It has increased by % since 00, although it suffered a 9% dip in 009. Since then, the workforce has increased by 7%. Total workforce in animation Fig.9,700,00,600 Figure demonstrates the major occupational groups in animation. As shown, these are animators (8%), production (6%), business management (6%), strategic management (%) and art and design (0%). Business Management Distribution, Sales and Marketing Editing 6 Major occupational groups in animation (%) Fig. Strategic Management 6 Creative Development Production,000 Animators 8 Art and Design 0 Legal Freelance workforce More than half of the animation workforce is based in, and specifically Central (96%). The has the second highest concentration of animation professionals, while has the third (Figure 0). South East of England South West of England 8 Work base of the animation industry (%) Fig.0 6 Northern Ireland The proportion of freelancers is at its lowest since 00. About one in three of the workforce in animation (0%) is freelance. This is higher than the % seen across the creative media industries. Freelancers in animation,00,800,000,00 % of total workforce 6% 8% 6% 0% Freelance workforce Table Occupational groups like production, legal, libraries and archives, distribution sales and marketing as well as business management do not rely greatly on freelancers. In contrast, audio/sound/music (00%), costume/wardrobe (60%), camera/photography (60%), content development (0%), editing (7%) and animators (%) are freelance-orientated occupational groups in the industry.

27 Animation Animation Freelance workforce (continued) Of the animation workforce in the and Yorkshire and the Humber 0% and % respectively are freelancers, only about a third of the sector average. On the other hand, 9% of the workforce in the is freelance. Other areas that employ double or more than the sector average of freelancers are the South East, East and Northern Ireland (Figure ). Northern Ireland Geographical representation of freelancers in animation (%) Fig Women in animation,00, ,80 % of total workforce % % 8% 0% Women workforce Table Women in animation represent 0% of the total workforce compared to 6% of the creative media industries. After a substantial drop in 009, the proportion of women in animation seems to be moving towards the 00 levels. Women in animation are represented in all occupational groups at a 0-0% range except for art and design (8%), editing (7%), animators (%), camera/photography (0%) and lighting (%). At the upper end of the scale, women represent 8% of distribution, sales and marketing, 6% of legal roles and % of business management. Geographical representation of women in animation (%) Fig. Diversity Figure shows the proportion of women and the BAME workforce in animation. The response rate from the industry related to disability was too low to be able to extrapolate trends and this is therefore not reported in this section. Diversity in animation Fig. % % 0% Northern Ireland Representation of women is lower than average in the South East (0%), West (7%), and Northern Ireland (9% each). The South West and are around the sector average, while in (%), and (88%) women have greater representation (Figure ). 8% Women BAME 6.6%.6%.%.%

28 Animation Corporate production Corporate production covers film and video production for corporate bodies. Diversity (continued) Workforce size BAME in animation % of total workforce 6.6%.6%.%.% Corporate production total workforce Fig.6 6,00 BAME workforce Table Employees and freelancers from a BAME background represent.% of the total workforce compared to.% of the creative media industries. The occupational groups represented by BAME workers are legal (8%), strategic management (8%), editing (7%), business management (6%), production (%) and distribution, sales and marketing (%). The total workforce in corporate production has increased by 6% since 00 although it suffered major cuts from 006 to 009 (Figure 6).,800,90,00 BAME geographical representation in animation (%) Fig. 9 The nations and regions reported to employ people from BAME backgrounds are shown in Figure. A third of the workforce is based in (%), 0% work in the South East, % in and 0% in r North (Figure 7). North West of England 8 0 Work base of the corporate production industry (%) Fig.7 South West of England 0 For specifically, 60% of the workforce is based in Central, % in West and 9% in East.

29 6 Corporate Production Corporate Production 7 Occupational groups Figure 8 shows the major occupational groups that comprise corporate production. These are production (0%), art and design and camera/ photography (% each), strategic management (%) and business management (0%). Business Management Manufacture Editing Audio/ Sound/ Music Lighting 6 6 Camera/Photography Other 0 7 Strategic Management Major occupational groups in corporate production (%) Fig.8 Animators 0 Creative Development Production Art and Design Freelance work in corporate production is found in almost all regions and nations as shown in Figure 9. The region with the highest use of freelancers in this sector is the (86%). North West of England North Geographical representation of freelancers in corporate production (%) Fig Freelance workforce Freelancers in corporate production,00,800,00,00 % of total workforce 9% % % % Freelance workforce Table Diversity Figure 60 shows the proportion of women and BAME representation in the workforce. Diversity in corporate production Fig.60 Women BAME The total number of freelancers is % compared to % of the creative media industries. Occupational groups like strategic management (0%), retail and exhibition (%) and business management (%) do not rely greatly on freelancers. In contrast, a great many occupations in corporate production like manufacture (00%), make-up and hairdressing (00%), costume/wardrobe (00%), lighting (9%), audio/sound/music (90%), camera/ photography (8%), transport (8%), animators (7%), creative development (68%), engineering and transmission (67%), art and design (67%) and technical development (67%) are freelance-orientated occupational groups in the sector. % 7.% 8% 6.% %.8% 6%.6%

30 8 Corporate Production Corporate Production 9 Diversity (continued) Women in corporate production 900,800 0,00 % of total workforce % 8% % 6% Women workforce Table 6 BAME in corporate production % of total workforce 7.% 6.%.8%.6% BAME workforce Table 7 Women in corporate production represent 6% of the total workforce compared to 6% of the creative media industries. Women in corporate production represent: business management (%) strategic management (8%), production (6%), editing (%), creative development (8%), art and design (8%), animators (%), content development (0%), manufacture (0%) and camera/photography (%). Workforce from a Black, Asian or Minority Ethnic background represents.6% of the total workforce compared to.% of the creative media industries. This is the lowest since 00. The occupational groups represented by BAME workers are transport (7%), strategic management (7%), production (%), art and design (%), and business management (%). Geographical representation of women in corporate production (%) Fig.6 BAME geographical representation in corporate production (%) Fig.6 Figure 6 shows the representation of women geographically within corporate production. North West of England North The nations and regions reported to employ people from BAME backgrounds are shown in Figure 6. South The proportion of disabled workforce in corporate production has dropped to 0.% in 0 from 0.7% in 009. The numbers are too low to extrapolate trends or to estimate occupational and geographical representation.

31 60 Computer Games 6 Computer games Workforce size Occupational groups Figure 6 shows the size of the workforce in computer games since 00. The total workforce has been gradually decreasing since then with an overall drop of %. Computer games total workforce Fig.6 9,00 8,800 7,00,00 Figure 6 shows the major occupational groups in computer games. These are art and design (%), technical development (6%), business management (%), strategic management (0%) and production (0%). Business Management Technical Development 6 0 Major occupational groups in computer games (%) Fig.6 Strategic Management Creative Development 0 Production Audio/ Sound/ Music Animators Art and Design Freelance workforce The majority of the workforce is concentrated in the West Midlands (9%), followed by (9%), (%) and (%) (Figure 6). 9 Work base of the computer games industry (%) Fig.6 9 Northern Ireland The proportion of freelancers is % compared to % across the creative media industries. This has grown significantly since 009. Freelancers in computer games, % of total workforce % 8% % % Freelance workforce Table 8 Occupational groups like strategic management (%), technical development (%) and business management (7%) are mostly staffed by permanent employees. In contrast, editing (00%), creative development (78%), animators (7%), camera/photography (67%), audio/ sound/music (9%) and production (8%) are freelance dominated groups in computer games. Content development (%) and art and design (9%) match the overall sector average. For specifically, 7% is based in Central, % in West and % in East.

32 6 Computer Games Computer Games 6 Freelance workforce (continued) East and employ the smallest proportion of freelancers of their total workforce while at the other end of the scale Northern Ireland tends to employ more freelancers than the sector average (Figure 66). Northern Ireland Geographical representation of freelancers in computer games (%) Fig Women in computer games 800, % of total workforce 8% % 6% % Women workforce Table 9 Below average representation Industry average representation (%) Women make up % of the total workforce compared to 6% across the creative media industries. Although low, this is the highest recorded since 00. Higher than average representation Technical development (6%) Strategic management (%) Business management (%) Women workforce Table 0 Art and design (%) Production (%) Table 0 illustrates the representation of women in each occupational group in computer games. Diversity Figure 67 shows the proportion of women and BAME workforce in computer games. Diversity in computer games Fig.67 Women BAME % % Figure 68 shows the geographical representation of women working in computer games. has the highest concentration followed by. Geographical representation of women in computer games (%) Fig % 6%.%.%.8%.7%

33 6 Computer Games 6 VFX Diversity (continued) Workforce size Employees and freelancers from a BAME background represent.7% of the total workforce compared to.% across the creative media industries. Although low, this is the highest recorded since 00. BAME in computer games % of total workforce.%.%.8%.7% BAME workforce Table BAME workers are represented in the occupational roles of production (8%), art and design (7%), creative development (6%), business management (6%), technical development (%) and strategic management (%). Table shows the size of the workforce in VFX since 009 where the sector was separated from facilities. There has been a % decrease since then VFX 6,900,00 VFX workforce Table The VFX workforce is based mostly in (98%) and more specifically Central. The remaining % of the workforce is spread across, Northern Ireland, the South East and the South West. Figure 69 illustrates the nations/regions where there are records of BAME representation. East Midlands demonstrates higher than the sector average representation. BAME geographical representation in computer games (%) Fig.69 6 Occupational groups Figure 70 shows the major occupational groups in VFX. These are animators (9%), art and design (%), business management (9%) and production (7%). Business Management Lighting Editing 9 7 Major occupational groups in VFX (%) Fig.70 Strategic Management Production Engineering and Transmission Art and Design Animators 9 The numbers of those with a disability are less than 0 employees and/or freelancers and are therefore not reported in this section.

34 66 VFX VFX 67 Freelance workforce Freelancers in VFX % of total workforce % 9% Freelance workforce Table The proportion of freelancers is 9% compared to % of the creative media industries. Below average representation Industry average representation (9%-9%) Higher than average representation Engineering and transmission (7%) Strategic management (6%) Creative development (0%) Art and design (7%) Lighting (%) Production (6%) Technical development (%) Broadcast management (60%) Occupational groups like strategic management (%), business management (%) and engineering and transmission (%) do not rely greatly on freelancers. In contrast, art and design (%) and editing (6%) are freelance-orientated occupational groups in the sector. Other groups such as production (0%), broadcast Diversity management (0%), animators (6%) and lighting (%) are closer to the sector average in the use of freelancers. VFX work in Northern Ireland is shown to be 00% freelance. Freelancers in are represented at the sector average of 9%. Of those in, 98% are employed in Central. 009 % 009 % Women,00 9%,000 9% Women workforce Table Women in VFX represent 9% of the total workforce compared to 6% across the creative media industries. Table illustrates the representation of women across occupational groups. Editing (%) Labs/processing (%) Business management (7%) Of the total VFX workforce in and specifically central, 9% are women. The workforce from a BAME background represents % of the total workforce compared to.% of the creative media industries. The BAME workforce is based largely in Central and the main occupational groups are art and design (%), engineering and transmission (%), business management (%) and production (%). The numbers of disabled workforce in VFX are too low to calculate trends, occupational and geographical representation. BAME 0 7.9% 0 % Disability * * * * Diversity in the workforce Table Table shows the proportion of women, BAME and the disabled workforce. The asterisk (*) denotes too small a number to be statistically reliable.

35 How to complete the census Stand up and be counted July 0 The eighth census of the creative media industries IMPORTANT - PLEASE READ This is the eighth census of the creative media industries. The census, which was last carried out in 009, has full industry support. By completing the census you will be directly influencing how Creative Skillset uses and levers funds to ensure we have a highly skilled, world class workforce. Please complete this census form on or as near as possible to Census Day, Wednesday July 0. If you need any assistance, please call The census form is also available to complete online at creativeskillset.org/census. #creativecensus. Please complete this form on Census Day (Wednesday July 0) or as soon as possible thereafter and return it by Friday August 0 to the independent research organisation Qualasys Limited: Freepost RSXX-ZJTG-STAL, Qualasys Ltd, PO Box 69,, N6 BP. You do not need to use a stamp.. The census is being distributed via several channels: if you receive more than one copy of the form, please ensure that only one form is completed for each nation or region in which your organisation is active (see point below).. If your organisation has bases in more than one nation or region please complete a separate form for each nation or region (see overleaf). Further copies of the form may be obtained from Anna Chourdaki ([email protected]) or you can go to and complete the form online or print hard copies and complete the form manually.. Any information you provide us on the census form will be treated in absolute confidence and the information will contribute to an overall statistical view of the industry. We are asking for your contact details only to know which sector and region you operate in and to get in touch if there is anything we want to clarify about what you have told us.. Please enter the number of employees and freelancers on your payroll on Wednesday July 0 including yourself and all those who work for you for any part of the day whatever length of time. For a definition of employee and freelancer please refer to the Glossary. 6. You may find it helpful to read the whole form before ascribing individuals to occupational groups. For examples of job titles that fall into each group please refer to the Appendix. 7. We know that the way people work nowadays is complex and that some people work across more than one occupation and some occupations are difficult to define. Please count once only all people working on Wednesday July 0 in whichever category you think best describes their role. 8. Don t forget to count yourself, especially if you are a small or one-person operation. 9. If you do not employ or use anyone in any particular category, just leave the box blank. 0. Please include only those who are based in the United Kingdom and any UK nationals who are working overseas on Wednesday July 0.. We are also asking you how many people in each category are women, from a Black, Asian and Minority Ethnic (BAME) background or are disabled. We understand that it can sometimes be difficult to judge and we are seeking broad estimates based on your discretion. Please refer to the Glossary for a definition of BAME and disabled.. If you have any queries about completing the census, please contact Anna Chourdaki at Creative Skillset (tel: ; [email protected]), who will be pleased to assist. Glossary Employees: Employees are classified as those on contracts of 6 days or more. Freelancers: Freelancers are classified as those on contracts of 6 days or less, including those on Schedule D status. BAME: Black, Asian and Minority Ethnic (BAME) includes those in Mixed, Asian or Asian British, Black or Black British, Chinese and Other ethnic groups. Those not categorised as White British, White Irish or White Other should be included in this category. Disabled: As defined by the Disability Discrimination Act (DDA) a disabled person is someone who has a physical or mental impairment that has a substantial and long term adverse effect on his or her ability to carry out normal day to day activities such as visual, hearing, speech, co-ordination, mobility and many people who may not usually have considered themselves disabled.

36 About your organisation Before completing the census, please provide the following information about your company so that we can get in touch if we need to clarify any of the information you provide and to help us analyse it by activity and nation and region: Company name: Tel no: address: Where is your organisation based in the UK? If you have offices based in more than one nation or region, please complete a separate copy of the form for each. Please indicate below which nation or region this form covers by marking a in the appropriate box. (Please one box only). North and Mid Anglesey, Gwynedd, Conwy, Denbighshire, Flintshire, Powys, Wrexham West Ceredigion, Carmarthenshire, Pembrokshire South Bridgend, Vale of Glamorgan, Cardiff, Newport, Monmouthshire, Tarfaen, Blaenau, Gwent, Caerphilly, Merthyr Tydfil, Rhondda Cynon Taf, Swansea, Neath Port Talbot Glasgow, Edinburgh and Southern Edinburgh & Lothians, Greater Glasgow & Clyde Valley, Ayrshire & Arran, Dumfries & Galloway, Scottish Borders Central and North East Aberdeen & Grampian, Angus & Dundee, Perthshire, Argyll, the Isles, Loch Lomond, Stirling & the Trossachs Highlands & Islands Shetland, Orkney, Outer Hebrides, Highlands & Skye Northern Ireland England Central City of Westminster, Kensington & Chelsea, Lambeth, Wandsworth, Southwark, Camden, lslington East Hackney, Redbridge, Havering, Barking & Dagenham, Newham, Tower Hamlets, City of, Bexley, Greenwich, Lewisham North Barnet, Enfield, Haringey, Waltham Forest Contact name: Postcode: Had you heard of Creative Skillset before today? ( one box only) Yes No Please tick () your organisation's MAIN area of activity and cross () any OTHER areas in which you work Television Terrestrial (Public) Facilities Post production Animation Computer Games Games Development VFX Terrestrial (Commercial) Studios & Games Publishing Equipment Hire Commercials Production Cable & Satellite Outside Broadcast Games Development Independent Production Corporate Production Support (middleware, System Integration tools and technology) Community Special Physical Effects Pop Promos Archives & Libraries Manufacture of Audio Distribution Interactive Media Visual Equipment Other, please specify Online content Interactive Processing Laboratories Mobile content Broadcast Technology Transmission Systems design/software Radio Other Services for Broadcast (Public) Film & Television Social media/web.0 Broadcast (Commercial) Independent Production Other IM Film Production Distribution - UK Community/Voluntary Distribution - International South Richmond Upon Thames, Kingston Upon Thames, Merton, Sutton, Croydon, Bromley West Hillingdon, Harrow, Brent, Ealing, Hounslow, Hammersmith, Fulham (excluding ) Oxfordshire, Buckinghamshire, Milton Keynes, Bracknell Forest, West Berkshire, Reading, Slough, Windsor & Maidenhead, Wokingham, Surrey, Kent, Medway, East Sussex, West Sussex, Brighton & Hove, Hampshire, Isle of Wight, Portsmouth, Southampton Gloucestershire, Wiltshire, Swindon, Former Avon, Somerset, Bournemouth, Dorset, Poole, Devon, Cornwall Shropshire, Staffordshire, The Black Country, Coventry, Warwickshire, Herefordshire, Worcestershire Derbyshire, Nottinghamshire, Lincolnshire, Rutland, Leicestershire, Northamptonshire North Northumberland, Tyne & Wear, County Durham, Tees Valley North Yorkshire, West Yorkshire, East Riding of Yorkshire, North Lincolnshire, North East Lincolnshire, South Yorkshire Norfolk, Cambridgeshire, Suffolk, Bedfordshire, Hertfordshire, Essex North West of England Cumbria, Lancashire, Greater Manchester, Merseyside, Halton, Cheshire, Warrington Census Please complete the census below and return to the address at the bottom of the form. Occupational Group Occupational Role Employees Freelancers Number of people from Number of a BAME background disabled people Number of women Number of people from Number of Total number of a BAME background disabled people freelancers Number of women Total number of employees.strategic Management CEO Producing.Creative Development Script Storyboard Writing & Authoring. Production Direction Casting Locations Production Production Management Archive Research Implementation Quality Assurance Project Management. Legal Legal - Corporate Legal - Intellectual Property. Broadcast Management Acquisitions Audience Research Channel/Station Control Commissioning Presentation Cable & Satellite Distribution Cable & Satellite Network Scheduling Signing Subtitling 6. Engineering & Transmission Engineering - Operations Plant & Maintenance Project Engineering Transmission - Management Transmission - Operations

37 Occupational Group Occupational Role Employees Freelancers Total number of employees Number of women Number of people from Number of Total number of a BAME background disabled people freelancers Number of women Number of people from Number of a BAME background disabled people 7.Editorial, Journalism & Sport Editorial Newsgathering & Presentation Production Sports Reporter/Presenter 8.Content Development Content Development 9.Art & Design Artist Graphic Design Production Design Set Design Props Animal Handling Construction/Set Crafts D Drawn Animation Design D Computer Generated Animation Design D Computer Generated Animation Design Stop Motion/Stop Frame Animation Design Web & Other Interactive Content Design 0.Animators D Drawn D Computer Generated D Computer Generated Stop Motion/Stop Frame Visual FX.Costume & Wardrobe Design Dressing Making Stores.Make Up & Hairdressing Design Operations Stores.Camera/Photography Camera - Design Camera - Production Photography.Lighting Design Operations Setting/Placing Please refer to the Glossary for definitions. Occupational Group Occupational Role Employees Freelancers Total number of employees Number of women Number of people from Number of Total number of a BAME background disabled people freelancers Number of women Number of people from Number of a BAME background disabled people.audio, Sound & Music Sound Recording/Reproduction Music Management 6.Transport Driver 7.Studio Operations Videotape Operation Vision Control Vision Mixing 8.Technical Development Technical Development 9.Editing Editing Telecine Machine Room 0.Laboratories & Processing Laboratory Services Imaging.Manufacture Manufacture.Servicing Technical Support.Library & Archives Library Archives.Distribution, Sales & Marketing Distribution - Management Distribution - Operations Media & Ad Sales.Business Management Corporate PR & Marketing Business Development Finance/Accounts Human Resources Health & Safety IT Administration Premises Operations Client Services/Bookings 6. Other, Please Specify: TOTAL* Please refer to the Glossary for definitions. *Please ensure that the total figures entered in the final row equal the sum of entries in each column; individuals should be entered once only. Thank you for completing the census form. Please now return it to: Freepost RSXX-ZJTG-STAL, Qualasys Ltd, PO Box 69,, N6 BP

38 Appendix Appendix Occupational Groups. Strategic Management. Creative Development Occupational Roles CEO Producing Script Storyboard Writing & Authoring Examples of Job Titles CEO, Managing Director Associate Producer, Creative Director, Development Executive, Editorial Head of Department, Executive Producer, Producer, Technical Director Screenwriter, Script Editor, Script Reader, Script Writer Storyboard Artist, Storyboard Assistant, Storyboard Supervisor Copy Writer, Multimedia Author, Web Writer. Production Direction Director, First Assistant Director, Second Assistant Director, Script Supervisor, Third Assistant Director Casting Casting Assistant, Casting Director, Casting Manager Locations Assistant Location Manager/Locations Assistant, Locations Manager, Unit Manager Production Associate Producer, Continuity Co-ordinator, Head of Development, Production Co-ordinator, Production Manager, Production Runner, Programme Editor, Programming Manager, Project Manager/Producer, Researcher Production Management Archive Research Implementation Quality Assurance Project Management. Legal Legal - Corporate Solicitor. Broadcast Management Legal - Intellectual Property Acquisitions Audience Research Channel/Station Control Commissioning Presentation Cable & Satellite Distribution Cable & Satellite Network Scheduling Signing Subtitling Assistant Producer, Floor Manager, Location Manager, Production Manager Researcher QA Manager, Search Engine Optimisation Specialist, Site Manager Account Manager, Proofreader, QA Director, QA Tester/Technician, Usability Specialist Producer, Production Assistant, Project Manager, Senior Producer IPR Lawyer Acquisitions Assistant, Acquisitions Manager Market Researcher, BARB Analyst, Analyst, Research Manager, Strategy Manager Channel Editor, Channel Manager, Controller, Launch Director, Station Manager Commissioning Editor, Development Executive Announcer, Continuity Co-ordinator, Editor, News Reader, Producer Affiliate Marketing Executive, Affiliate Sales Manager, Decoder Co-ordinator Broadcast Engineer, Network Operations Manager, Operations Assistant Network Assistant, Planning Assistant, Scheduler Signer Audio Descriptor, Head of Languaging, Stenographer, Subtitler Occupational Groups 6. Engineering & Transmission Occupational Roles Engineering - Operations Plant & Maintenance Project Engineering Transmission - Management Transmission - Operations 7. Editorial, Editorial Journalism & Sport Newsgathering & Presentation Production Sports Reporter/ Presenter 8. Content Development Content Development Examples of Job Titles Engineering Manager, IT Engineer, Technical Operators, Outside Broadcasting, Wireman Contribution/Distribution Engineer, Electrical Maintenance Engineer, Maintenance Engineer, Plant Engineer Assistant Engineer, Design Draughtsman, Junior Engineer, Production Engineer, Project Design Engineer Head of Department, Head of Design, Head of Maintenance Electrician, Engineer, Rigger Editor, News Editor Broadcast Journalist, Commentator, Correspondent, Presenter, Reporter Director, Producer Commentator, Presenter, Sports Journalist Asset Researcher, Content Director, Content Strategist, Illustrator, Sound/Video Compressionist, Researcher, Interface Designer, Web Analytics Analyst, Online Community Manager 9. Art & Design Artist Art Director, Creative Manager, Lettering Artist, Scenic Artist Graphic Design Graphic Designer, Graphic Technician, Level Editor, Map Builder, Object Planner, User Experience Designer Production Design Art Department Co-ordinator, Art Director, Assistant Art Director, Production Design Assistant, Production Designer, Stand By Art Director, Supervising Art Director Set Design Art Director, Set Designer Props Armourer, Buyer, Greensmen, Property Master/Mistress, Set Dresser Animal Handling Animal Handler, Animal Trainer, Trainee Animal Trainer Construction/Set Crafts D Drawn Animation Design D Computer Generated Animation Design D Computer Generated Animation Design Stop Motion/Stop Frame Animation Design Web & Other Interactive Content Design Carpenter, Construction Manager, Model Maker, Supervising Rigger Art Director, Character Designer, Colour Stylist, Production Designer Animatic Artist (Flash), Art Director, Background Designer, Technical Design Assistant Art Director, Concept Artist, Layout TD, Previs Artists Art Director, Design Assistant, Head of Art Department, Set Designer, Team Leader Model Making Designer, Graphic Designer, Information Architect, Interface Experience Designer, User Experience Designer, Web Designer

39 Appendix Appendix Occupational Groups Occupational Roles Examples of Job Titles 0. Animators D Drawn Animation Director, Animator, Checker, Digital Paint Supervisor, Key Clean Up Artist. Costume & Wardrobe. Make Up & Hairdressing. Camera/ Photography D Computer Generated D Computer Generated Stop Motion/Stop Frame Visual FX Design Dressing Making Stores Design Operations Stores Camera - Design Camera - Production Animator, Background Artist, Scanner Character Animator, Effects (FX) Supervisor, Effects TD, Fur/Feathers FX Artist, Lead Animator, Lighting Supervisor, Lighting TD, Look Dev Supervisor/Director, Render Wrangler, Texture Artist Assistant Animator/Stop Frame Animator, Animation Director/CG Animation Director, CG Animator, CG Compositor FX, Motion Capture Assistant, Motion Capture Director, Motion Control Operator Compositing Artist, Matte Painter, Modeler, Rigging Supervisor, Texture Artist, VFX Editorial, VFX Supervisor Chief Costume Designer, Costume Designer, Costume Stylist Senior Dresser, Wardrobe Master/Mistress, Wardrobe Assistant, Wardrobe Supervisor Costume Maker, Costumer, Dress Maker Costume Stock Operative, Wardrobe Assistant Chief Hairdresser, Make Up Designer Hairdresser, Hairdressing Assistant, Make Up Artist, Make Up Assistant, Special Effects Make Up Assistant, Wigmaking Assistant Make Up Stores Assistant Digital Imaging Technician, Director of Photography, Stereographer Camera Assistant PSC, Camera Director, Camera Operator PSC, Camera Operator Studio/OB, Data Wrangler, DV Director/Self Shooter, Lighting Camera, Stereo Assistant Camera Stills Photographer Photography. Lighting Design Gaffer, Lighting Designer, Lighting Director Operations Best Boy, Generator Operator, Lighting Console Operator Setting/Placing Lighting Electrician, Moving Light Technician, Production Electrician, Rigger, Rigging Gaffer. Audio, Sound & Music Sound Recording/ Reproduction Music Management Boom Operator, Sound Designer/Director, Sound Recordist/Production Mixer, Sound Supervisor, Sound Technician Composer, Music Supervisor Agent 6. Transport Driver Driver Facilities, Minibus Driver, Transport Captain, Transport Co-ordinator, Transport Manager 7. Studio Operations Videotape Operation Vision Control Vision Mixing Autocue Operator, VT Operator Director, Vision Controller Technical Operator, Vision Mixer Occupational Groups 8. Technical Development Occupational Roles Technical Development Examples of Job Titles Database Designer, Flash Developer, Interaction Designer, Lead Programmer, Software Engineer 9. Editing Editing Editor - Offline, Editor - Online, Head of Editing, Operator, Runner Telecine Assistant, Colourist, Head of Telecine, Operator, Runner Machine Room Assistant, Head of Machine Room, Operator, Quality Control 0. Laboratories & Processing Laboratory Services Negative Developer, Other Specialist Lab Service Imaging Film Librarian, Head of Imaging, Negative Handler, Projectionist, Scanning and Recording Operator. Manufacture Manufacture Machine Operator. Servicing Technical Support Technician. Library & Archives. Distribution, Sales & Marketing. Business Management Library Archives Distribution - Management Distribution - Operations Media & Ad Sales Corporate PR & Marketing Business Development Finance/Accounts Human Resources Health & Safety IT Administration Premises Operations Client Services/ Bookings Librarian, Library Manager, Library Technician, Transmission Librarian Archives Librarian, Archivist Director of International Relations, Head of Acquisitions, Head of Licensing, Sales Director, Acquisitions Assistant, Account Manager, Licensing Assistant, Programme Co-ordinator, Sales Manager Ad Sales Manager, Commercial Operations Assistant, Sponsorship Executive Marketing Assistant, Marketing Manager, PR Manager, Sales and Bidding Manager Account Manager, Business Development Manager, Licensing/IPR Manager, Product/Brand Manager, Sales Manager Accountant, Bought/Purchase Ledger Assistant, Financial Controller, Finance Director HR Administrator, HR Director/Manager, Training and Development Manager Health & Safety Officer Head of IT, IT Support Executive, Programmer, Senior Systems Administrator, Technical Director Administrator, Personal Assistant, Receptionist Building Manager, Caterer, Cleaner, Despatch Security, Facilities Manager, Facility Runners Senior Bookings Co-ordinator, Bookings Co-ordinator

40 Creative Skillset Focus Point Caledonian Road N 9GB T: E: [email protected] W: Follow the discussion on #creativecensus on Like us on Facebook: facebook.com/creativeskillset Join us on LinkedIn: linkedin.com/company/creative-skillset Creative Skillset is the licensed Sector Skills Council for Entertainment Media, Fashion and Textiles, Publishing and Advertising, Marketing and Communications. It is owned and invested in by employers working in social partnership with unions and aspires to have the best skills and talent in the world to drive growth of the industries and the UK economy. Creative Skillset brings all parts of the Creative Industries together to add value through collaboration on workforce development.